Author of Spirit Wind and Walk Against Time

suspense

When a serial killer dumps the bodies of several young women into various rivers between Ohio and Pennsylvania, with parts of their bodies skinned, newspapers anoint the unknown assailant as “Buffalo Bill.” The head of Behavioral Sciences at the FBI recruits a beautiful young agent-trainee, who is earmarked for his division, to help him out by interviewing one of the most notorious serial killers of all: Hannibal Lecter, a cannibal.

The following review contains a detailed analysis of the plot, so be forewarned.

Jack Crawford (Scott Glenn) recruits Agent Clarice Starling (Jodie Foster) for this job without telling her why: he wants to get Lecter (Anthony Hopkins) to help them profile Buffalo Bill so they can catch the killer before he acts again. Even before she can leave Quantico for Baltimore, they are already too late. Buffalo Bill (Ted Levine) lures young Catharine Martin (Brooke Smith) into his van and abducts her, putting her down in an empty well in his basement and forcing her to use lotion to soften her skin while his little toy poodle Precious looks on. Sitting at a sewing machine, surrounded by rare moths, he sews his collected skin together.

In Baltimore, Clarice meets Lecter’s prison psychiatrist, Dr. Chilton (Anthony Heald), who has taken to using subtle torture to try to make a name from Lecter, who was at one time himself a brilliant psychologist. Given the antagonism between the two, she requests to see Lecter alone. As she walks up the corridor to the special cell, one of the other inmates, Miggs, whispers obscene things to her. In his cell, protected by glass, he is prohibited from contact with anything that might be used as a weapon or to escape, even pens, although he is allowed pencils to complete intricate drawings. Clarice asks him about an especially detailed drawing of Venice and he remarks that it is his only way of having a view of the outside world. Fascinated by her, he picks out her perfume and tries to get inside her mind without revealing anything of himself. Frustrated, he dismisses her, but on the way out, Miggs throws a ball of come at her and this upsets Lecter who yells at her to come back. He tells her to find an old patient of his, giving a few verbal hints and a fake name.

Clarice unravels his clues and follows them to a self storage garage outside Baltimore with an old car that contains a mannequin and a jar containing the head of Lecter’s former patient. She revisits Lecter and he reveals that he did not kill the man, but that it is the world of a serial killer in the making. Using a quid pro quo dialogue, he reveals bits and pieces while learning of Clarice’s youth, including the death of her father and her brief time on a sheep ranch in Montana staying with cousins afterward.

Another body is found and Clarice accompanies Crawford to examine the body. Although he appears to be playing psychological games with her, Clarice stands up for herself and earns the fair treatment she deserves. While examining the body, they find the pupa of moth wedged inside the girl’s mouth. The investigation leads Clarice to university specialists who tell her that the pupa is a rare species of Asian moth.

Back in Quantico, she sees a television report that Senator Ruth Martin’s (Diane Baker) daughter has been kidnapped by Buffalo Bill. Martin attempts to humanize her daughter to the killer by showing pictures of the girl growing up and referring to her over and over by her name: Catherine. Oblivious to the broadcast, Bill continues to sew the skin of his victims together.

Promising Lecter a transfer away from Dr. Chilton, Clarice tells him that if he can help them find Buffalo Bill, he will even be allowed some time on a beach. Recording the conversation, Dr. Chilton checks with Senator Martin and discovers that the FBI has lied to Lecter and no such deal is in place. He reveals this to his patient and brokers his own deal with Martin. During his conversation with Hannibal, who is restricted with a straight jacket and face plate, Chilton leaves his pen lying in the office, then leaves Lecter to his assistant with the instruction to clean him up and get him ready for transfer. In Memphis, Tennessee, Lecter is taken off the plane, but when Chilton goes to sign his release, he can no longer find his pen. Lecter watches him anxiously until a guard offers a pen instead.

Introduced to the Senator, Lecter gives her false information as to the identity of Catherine’s abductor and is then escorted to a special cell on an isolated floor of the courthouse. Clarice comes to see him, even though it is no longer her case, to try to find out why he gave the Senator false information and to keep trying to get the real killer’s name. Playing quid pro quo again, he gets her to reveal that the reason she ran away from the ranch in Montana was that she was awakened by screaming because the spring lambs were being slaughtered. Appalled, she opened the pen to let them go, but they wouldn’t leave, so she took one lamb and ran away, getting caught several miles from the ranch. Lecter gets her to admit that she sometimes still has nightmares about the screaming of the lambs. As Chilton and the officers escort her out, Lecter gives her back her case file and tells her that all she needs to know is there. When the guards deliver Lecter his dinner, they handcuff him to the bars of his cage, but using components from Chilton’s pen, he unlocks his cuff and kills the two guards, cleverly making his escape.

Piecing together bits of what Lecter has given her, she realizes that the killer might live close to the first victim because in the beginning these killers covet those who are nearby, that they see every day. With this knowledge, she goes to visit the family of the first victim and stumbles upon the killer. I won’t revel the ending, even though it is very exciting.

Only the third film to win Academy Awards in all the top five categories, Best Picture, Best Actor, Best Actress, Best Director, and Adapted Screenplay, it is also the first horror film to be named Best Picture. All five awards are richly deserved.

This 1991 film truly established Jonathan Demme as a master of the art of film directing and in The Silence of the Lambs he has created a masterpiece that even Alfred Hitchcock would have loved. The airtight script by Ted Tally, based on the 1988 novel by Thomas Harris, melds several genres in a stew that is absolutely compelling. A friend of Harris, Tally’s first draft was accepted by Demme and the film went into production with very little revision. It is virtually unheard of in the film industry for a script to be so well written is taken on a first draft basis.

Murder mystery, detective story, horror, and psychological drama all work together under Demme’s expert hand. Running just under two hours, the story is so gripping that it is extremely difficult to pull oneself away. The music by Howard Shore feels invisible, yet it is coldly calculated to lead the viewer steadily and deeply into the grisly scenario. Shore said of his score, “I tried to write in a way that goes right into the fabric of the movie.” Bullseye.

Demme’s use of close-ups in the intense dialogue between Starling and Lecter, especially with the camera moving ever so slowly in tighter and tighter, creates such a feeling of intimacy and gripping suspense as to make it palpable. In addition, the movie is a prime example of brilliant editing, each scene cut perfectly for the story.

The acting is pure gold. This is by far Jodie Foster’s best performance in a long and distinguished career and she earned her Oscar by imbuing Clarice Starling with such a rich and subtle layering of character that she was completely believable and utterly compelling. Opposite her, Anthony Hopkins plays Hannibal with such brilliance, both believably intelligent far beyond most people and yet eerily spooky in his madness, one moment perfect British manner, one moment biting someone’s nose off. Whenever he is present, a scene is elevated to the deepest level of psychological complication. Great acting! The supporting cast all do their jobs, each actor invested in their little part of the tapestry.

I’ve now seen this movie six times and each time I still find every single moment of it to be utterly compelling. It stands the test of time with no effort at all and must be considered deep within anyone’s list of the Top 100 films of all time.

Save the Last Dance is a surprisingly well-thought out film. Although it is primarily concerned with dance, it also deals with some big issues. Julia Stiles and Sean Patrick Thomas are great as two dancers with completely different backgrounds who come together to merge classical and hiphop dance styles. Lots of fun, great music, and some serious issues.

Written by Tom Stoppard (author of Rosencrantz and Guildenstern are Dead) and Marc Norman, this 1998 film is both a comedy and a romance–and it is very successful at both. Great performances by Gwyneth Paltrow, Joseph Fiennes, Geoffrey Rush, and Judi Densch fuel this terrific comedy and unpredictable romance!

When a serial killer dumps the bodies of several young women into various rivers between Ohio and Pennsylvania, with parts of their bodies skinned, newspapers anoint the unknown assailant as “Buffalo Bill.” The head of Behavioral Sciences at the FBI recruits a beautiful young agent-trainee, who is earmarked for his division, to help him out by interviewing one of the most notorious serial killers of all: Hannibal Lecter, a cannibal.

This delightful comedy/drama was written and directed by David O. Russell, adapted from the book The Silver Linings Playbook by Matthew Quick. Centered around two quirky people, both at a crossroads in their lives, the film presents bi-polar disorder as a condition that can be overcome. Jennifer Lawrence gives an Academy Award performance opposite Bradley Cooper, with Robert DeNiro, Jacki Weaver, and Chris Tucker.

Here’s a 2004 film that really went under the radar. It was screened at Sundance and aired on Showtime and Lifetime, but I’d never heard of it. Based on the novel by Laurie Halse Anderson, it tells the story of a high school freshman, Melinda Sordino, who is brutally raped at a party by a senior boy. Starring Kristin Stewart in a wonderful performance.

The Spectacular Now aims much higher than any run-of-the-mill teen romance and its success in achieving a film that goes beyond the limits of genre is to be highly commended, yet there are problems in the movie and it would make the film an excellent study for any film theory class.

Sunshine Cleaning is a delightful comedy and drama, with a great cast, a strong script by Megan Holley and crisp, clean direction by Christine Jeffs. Although it hasn’t gotten the attention it deserves, the two performances at the center of it by Amy Adams and Emily Blunt really propelled the two actresses to the acclaim they so richly deserve.

This is a film that is uncertain of its genre. It starts out and has the feel throughout of a slice of life movie, yet, underneath, a great tragedy is struggling to get out, and, at the end, it bursts into a kind of feel-good film.

This 1994 movie, written by Helen Childress and directed by Ben Stiller, touches on a number of issues for young people, including attachment to brands, rejection of previous generations, employment difficulties, and romantic angst. Highly successful at the time, much of the movie can be said to be just as valid for today’s young adults as it was when released.

A nation of Peeping Toms. That’s us, according to home care nurse Stella (Thelma Ritter) in Alfred Hitchcock’s 1954 masterpiece Rear Window. She’s complaining to photographer L. B. Jefferies (James Stewart) as he sits in his wheelchair staring out the rear window of his apartment in Greenwich Village.

The violent colors of autumn leaves, an iron-rich rock that turns water blood red, blackened stalks, great slabs of ice, thorns, chipped rocks: these are the materials that Andy Goldsworthy uses to create his ephemeral art.

This classic romantic comedy is as much fun today as it was when the film was first released in 1953. It is built around two lies of identity told to each other by the main characters so that they can spend a day together in Rome.

Ruby Sparks

Ruby Sparks is a brilliant 2012 romantic fantasy. Both a comedy and a drama, it never falls into the genre of romantic comedy, but blazes its own original, fantastic trail. Written by Zoe Kazan and directed by Jonathan Dayton and Valerie Faris, the film has a single, organic arc that shoots into the sky like a brilliant firework, ultimately exploding into fragments that all make perfect sense.

A man sleeps peacefully aboard his small yacht when it suddenly bangs into some sea debris, tearing a hole in the side. This begins a great survival story where one problems piles upon another as he is tossed across the Indian Ocean toward shipping lanes and possible rescue. But he must first face storms, sharks, and other menaces. And even when he reaches the shipping lanes, will anyone see him?

Robert Redford gives a dynamic, riveting performance as the man fighting for his life in this 2013 film written and directed by J. C. Chandor. With virtually no dialogue, the viewer is constantly engaged with the action, watching Redford’s eyes to see what he is feeling, trying to figure out from his actions what he is trying to accomplish in all of the little tasks that he takes on to try to survive. It creates an inner dialogue that glues the viewer to the story, caught up in this extremely honest, thrilling film.

The cinematography by Frank G. DeMarco is extraordinary, catching all the moods of the sea and the storm. The music, by Alex Ebert, is restrained, working within the overall sound created by Steve Boeddeker and Richard Hymns of wind, waves, thunder, rain, grunting, and gasping.

Although the movie won various awards worldwide, it was seriously snubbed by the Academy Awards, though I can’t figure out why. Clearly, it is one of the best movies of 2013, with a brilliant, gut-wrenching performance by Robert Redford, skillful directing, terrific special effects, great sound, and a story that is completely engaging from beginning to end.

The sexiest and most mature of all Alfred Hitchcock’s films, Notorious is also one of his most suspenseful movies. It’s a torchy love story set among dangerous ex-Nazis in Rio de Janeiro, with Ingrid Bergman putting her life in danger to prove to the American agent she loves that she has become an honest woman. Beautifully shot in black and white, all of Hitchcock’s mastery drives a story that is thrilling right up to the end.

This review contains plot spoilers.

When her German immigrant father is convicted of treason in 1945, beautiful Alicia Huberman (Ingrid Bergman) goes on a binge. Her reputation as a party girl has been well earned, so American agent T. R. Devlin (Cary Grant) tries to keep some distance as he prepares to recruit her to spy on her father’s old friends, but he can’t seem to help getting involved with her. Although she claims not to care about it, Devlin has wiretapped proof that she is a patriot and so he gets her to fly to Rio de Janeiro for a job.

By the time she is settled in Rio, Alicia is in love Devlin and she goes off of alcohol and dedicates herself to him, but he doesn’t quite believe her. He is still suspicious that she will take another lover when she can.

Her job is to hook up Alex Sebastian (Claude Rains), one of her father’s friends who made advances to her in the past. She practically begs Devlin to tell her not to take the job, but he thinks that she should refuse it on her own. This test of wills leads her to accept the challenge. She is successful with Sebastian, but he keeps seeing her with Devlin and suspects that she may not really love him. He dares her to prove her loyalty by marrying him. Alicia brings her dilemma to the American agents, all of whom want to leave the decision up to her, except for Devlin. In love with her and angry that she has actually taken Sebastian for a lover, he advises her to go through with the marriage.

Alicia becomes convinced that whatever Sebastian is hiding is kept in his wine cellar, but he has the only to it. On Devlin’s urging, she steals the key and plans to investigate during a large party. She invites Devlin and the two of them sneak away during the party to look in the wine cellar. He accidentally breaks a wine bottle and it is full of uranium. Although he cleans up the mess and they make their escape, Sebastian has discovered that his key is missing when he goes to get more wine. He sees Devlin and Alicia together and they kiss to cover their escape from the wine cellar. Sebastian sees them and realizes that Alicia doesn’t really love him, then, when his key appears on his key ring the next morning, he realizes that she is a spy.

At the urging of his mother (Leopoldine Konstantin), they begin a slow process of poisoning Alicia. When she grows more and more ill, she cannot make a meeting with Devlin and he becomes suspicious. He goes to the house to investigate and finds her deathly ill. Confessing his love for her, he takes her from the house right in front of all of the Germans. Sebastian begs to go along with them, but Devlin refuses, leaving Sebastian to face the wrath of his ex-Nazi friends.

In its restored version, this black and white film is absolutely beautiful. Ingrid Bergman was made for the black and white film medium and the camera certainly loves her beauty. Alicia is a very complicated role and her performance is dynamic and powerful. Likewise, Cary Grant plays Devlin as a very complicated man and gives probably the best performance of his career, nuanced and detailed. Hitchcock uses his camera masterfully, creating some of the best shots of any of his films.

The suspense in this movie is palpable, at times so thick that it is almost impossible to watch, but the story is so compelling it is difficult to turn away. The kisses between Bergman and Grant are incredibly sexy. In one shot, they kiss, nuzzle, talk, and kiss over and over again for minutes. The movie also contains one of Hitchcock’s most well known shots, a long crane shot from the second floor of the house, moving inexorably down to a close-up of Bergman’s hand, behind her back, holding the key.

Written by Hollywood’s legendary screen writer, Ben Hecht, Notorious is a masterpiece that must be included among the very best of Alfred Hitchcock’s movies and it should be seen by everyone!

This is Alfred Hitchcock’s most visually beautiful movie. Filmed on the French Riviera, the gorgeous hills, dotted with old mansions overlooking the Mediterranean Sea vie with the stark beauty of Grace Kelly and chiseled features of Cary Grant to provide enough eye candy to last a lifetime. The following review contains plot spoilers.

The story is simply an excuse for the beauty. American ex-patriot John Robie (Cary Grant) is a former jewel thief who was known as “the Cat” before World War II. He paid his dues by fighting in the French Resistance, killing over 70 Nazis proving his loyalty to France. After the war, he put aside his thieving ways and lives respectably and very well, thank you, in a villa on a ridge overlooking the Mediterranean. This idyllic life is disturbed when a copycat burglar begins stealing the most expensive jewels on the Riviera. When the Police come calling, thinking he has renewed his life of crime, he evades them in a breathtaking car chase through some of the most beautiful scenery in the world. Turning his car over to a woman on the street, he hops a bus and sits next to Alfred Hitchcock.

He goes to see his old friend from the Resistance, Monsieur Bertani (Charles Vanel), who runs a restaurant that is manned by head waiter Foussard (Jean Martinelli) and more of their old Resistance buddies, who are all suspicious that the Police are right about Robie. Bertani helps him escape with the aid of Foussard’s daughter, teenager Danielle (Brigitte Auber) who has a crush on him. She takes him across the water to the Hotel Carlton, where beautiful American tourist Frances Stevens (Grace Kelly) sees him. He makes contact with a British insurance company representative, H. H. Hughson (John Williams), and pleads his case, that he is innocent and only wants to catch the thief to clear his name. Caught by the Police, Robie is released due a lack of evidence and convinces Hughson to give him the names of his clients who have the most expensive jewels waiting to be stolen. Abashed at having already had to pay out huge sums, Hughson agrees, also sharing the list with the Police to hedge his bets.

He begins by meeting rich American tourist Jessie Stevens (Jessie Royce Landis), mother of Frances, and posing as a rich Oregon timber man. After a stimulating evening, he escorts the two ladies back to their rooms, but before he can depart, Frances gives him a passionate kiss and arranges to meet him the next day. While swimming, he runs into Danielle and Frances becomes jealous. She and Robie take a drive to look at villas and are followed by the Police. When he asks her to drive a little faster, she speeds up considerably, taking a kind of devilish delight in tempting fate. They safely evade the Police and find a nice spot overlooking the sparkling waters of the Mediterranean and she tells him that she’s figured out that he’s actually John Robie. He denies it, but after lunch the end up kissing again. She tells him to meet her in her room to watch the fireworks or she will reveal who he really is.

That night, she seduces him again, proposing that they go into business together as burglars. He continues the façade of being a tourist, but when she goes to sleep, he keeps watch in her bedroom. During the night, however, the burglar robs Jessie of all her expensive jewels and finally Robie reveals himself to them. Frances calls the Police on him and he departs over the rooftops as they arrive to search for him.

Hiding out, he stakes out what he thinks is the next target, alerting Hughson and putting the Police on notice. As he waits in the dark, he is attacked by a man dressed in black. Struggling, he throws the man over the cliff. The Police find the body of Foussard in the Sea and announce that he was the burglar, clearing Robie of charges.

At her father’s funeral, Danielle becomes distraught and calls Robie a murder. Chagrined, Frances again hooks up with Robie and he tells her of his plans to capture the real burglar by attending a fancy costume ball. The Police follow and also stake out the ball, which Bertani is catering, with Danielle’s help. After changing disguises with Hughson, Robie waits on the roof for the burglar to show up, but when he does, it turns out to be Danielle.

On Robie’s hillside villa, Frances kisses Robie again, remarking that her mother is going to love the house.

From beginning to end, the cinematography is stunning, so much so that the film won Robert Burks, Hitchcock’s longtime associate an Academy Award. Although nominated for her incredible costuming, especially of Grace Kelly, Edith Head did not win.

This film has a different feel than most of Hitchcock’s work. Although it contains a lot of humor, the film is not a comedy. There is certainly some mystery as to who the real burglar is, but the film lacks the tension and suspense that mark most of Hitchcock’s movies. In truth, this is a feel-good romance, concentrating, as it does, so intensely on beauty. This was the last film he made with Grace Kelly before she married Prince Ranier of Monaco and gave up acting and it is appropriate that she shows so well. Stunning in an array of dazzling Edith Head costumes, the three gowns she wears are all breathtaking.

It moves at a really good clip, coming in at under two hours, and you never notice the time passing because there is always so much beauty for your eye. It is a fun movie, something you can’t really say about too many Hitchcock films and it transports you to a time and place full of such charm that it can honestly be said to elevate one beyond the every day.

Penelope is a fun and well-made modern fairy tale. The wealthy Wilhern family has a curse on it. Generations ago, a Wilhern son fell in love with a servant girl and wanted to marry her, but when the family found out, the engagement was broken. The poor girl then killed herself, but her mother, a witch created a spell so that the next Wilhern daughter would be born with the face of a pig!

It’s very rare in the realm of popular movies (outside of period pieces) that costumes play a major role, but Marilyn Vance is largely responsible for the success of the 1986 John Hughes script Pretty in Pink. The third of the “Brat Pack” trilogy of movies, following Sixteen Candles and The Breakfast Club, it closely resembles the first film, Sixteen Candles, and if Hughes had had his way by casting Anthony Michael Hall in the pivotal role of Duckie, it might have been even closer.

The line between suspense and horror is blurred anyway, but when director Alfred Hitchcock and screen writer Joseph Stefano adapted master horror writer Robert Bloch’s 1959 novel Psycho for the screen, and composer Bernard Herrmann was brought on board, they changed the horror film genre forever, creating ripples that are still felt by filmmakers today.

Alfred Hitchcock would have liked this 1996 Joel Coen and Ethan Coen quirky thriller that contains so much comedy it transcends genres. It borrows a number of techniques from the master of thriller movies, including a clever McGuffin, a villain with empathy, horrific incidents that are hilarious, and a tremendous environmental atmosphere.

The following review contains plot spoilers!

Minneapolis car salesman Jerry Lundegaard (William H. Macy) is caught in a deep financial bind during the winter of 1987 and hatches a scheme to hire two thugs, Carl (Steve Buscemi) and Gaear (Peter Stormare) to kidnap his wife, Jean (Kristin Rudrüd) so that her wealthy father, Wade Gustafson (Harve Presnell) will pay enough money to pay off the kidnappers and leave him high and dry financially. At the same time, he has been working on a real estate deal that would leave him wealthy enough to quit the car business altogether. He has been pitching this scheme to his father-in-law hoping that the man will loan him $750,000 to complete the deal.

He drives to Fargo to give the prospective kidnappers a 1987 Oldsmobile Ciera to cement the deal, passing through the hamlet of Brainerd, Minnesota, home of Paul Bunyan. Returning to Minneapolis, Jerry is shocked to find that Wade is actually interested in the real estate deal, so he hastily tries to contact the kidnappers to cancel the deal, but they are already on the road to the Twin Cities. In a meeting with Wade and his financial officer, Stan Grossman (Larry Brandenburg), Jerry finds that they only want to pay him a finder’s fee and will not loan him the $750,000. Although Jean puts of nominal resistance, Carl and Gaear wrap her up in a shower curtain (there are several reverential Psycho moments) and head back to Fargo. When Jerry finds Jean missing, he tells Wade that the kidnappers want one million dollars for her return, thinking he can get the money for the real estate deal, but that the kidnappers will only deal with him.

Outside Brainerd, Carl and Gaear get stopped by a state patrolman because Carl has forgotten to put tags on the Ciera. While he attempts to smooth things over with the officer, Jean moans under the shower curtain in the back seat and the trooper asks them to exit the vehicle. On impulse, Gaear grabs the officer and shoots him in the head. He tells Carl to move the body off the highway and while Carl is trying to drag the dead man out of the way, a car happens by and two people witness it. Gaear puts the Ciera in gear, chases down the witnesses and shoots both of them after their car has flipped into a field.

Brainerd Sheriff Marge Gunderson (Frances McDormand) is awakened in the early morning hours by her deputies who need her at the scene of the triple homicide. Her husband, Norm (John Carroll Lynch), faithfully fixes his seven-month pregnant wife breakfast, jumps her patrol car, and sends her off. Marge quickly figures out exactly what happens and launches an investigation that leads her to the Blue Ox Motel where the two men stayed on their way to Minneapolis. She interviews the two girls who bedded the men and follows up on several phone calls made to Jerry’s mechanic, Shep Proudfoot (Steve Reevis) who had set the deal up for Jerry. Following up this lead, she goes to Minneapolis only to find that Shep has disappeared. She interviews an extremely nervous Jerry, ultimately growing suspicious of him.

Jerry’s plans are derailed when Wade takes the money and heads for a rooftop parking lot to meet Carl. Jerry follows, but Carl gets annoyed by Wade and shoots him. Wade gets in one shot that goes through Carl’s jaw. Further annoyed, Carl empties his gun into Wade’s body and runs with the money, shooting the parking lot attendant on the way out. Stopping on a lonely highway, he looks into the bag and discovers a million dollars. He takes out enough to account for the original small ransom that Jerry had told him about and buries the bag in the snow along a fence, marking the spot with his ice scraper.

Thinking that Jerry may have lied to her, Marge goes back to the dealership, but Jerry storms out and disappears, so she puts him on the radar for the state police. When Carl returns to their Moose Lake hideout, he finds that Gaear has killed Jean. He gives the man his half of the money, but Gaear is upset that they were also supposed to divide the Ciera. Carl yells at him, but on his way out, Gaear kills him, too. A tip leads Marge to Moose Lake where she discovers Gaear feeding Carl’s body into a wood chipper. She confronts him and when he tries to run, she wounds him and then arrests him. On the way in, she adds up the deaths and remarks that the money wasn’t worth it. Jerry is found at a motel and arrested.

Right from the very beginning of the movie, the atmosphere is stark and it sets up the cold northern winter that is the blanketing background of the movie. A wash of white fills the camera and only fleetingly do we see Jerry’s car moving through the hazy bleak whiteness. The cinematography is extraordinary and the use of color is truly dazzling.

The script and the editing are extremely tight, leading to a film that runs only one hour and thirty-eight minutes, yet tells a completely compelling story. The dialogue is crisp and taut, full of the deep northern dialect that lends a comedic feel from the first time Jerry opens his mouth. Each scene is so succinct and well written that the story moves inexorably to its conclusion. There is only one plot element that slows it down: a subplot with an old acquaintance of Marge that makes her think Jerry might be lying. It takes up more space than it probably warrants, but it is the only detraction from an intricate, well balanced script.

The acting is amazing, beginning with Frances McDormand and William H. Macy. Although McDormand doesn’t even make an appearance until nearly 30 minutes into the movie, her presence takes it over. Marge is a pretty simple character and she keeps everything in perspective, casually adding up the elements of the crime while dealing with her pregnancy. Her Minnesota dialect is pitch perfect and it keeps the comedy always working for the good of the film. Macy, a relatively unknown character actor before Fargo, is terrific as Jerry, a character that we instinctively don’t like, yet we feel his terror as the situation gets further and further out of hand. It is a brilliant performance.

All of the supporting actors are great, from Buscemi and Stormare as the kidnappers to Lynch as Marge’s supportive wildlife artist husband, Norm. Presnell is truly funny as Jean’s father. Everyone works together to create a wonderful ensemble of acting that all goes back to support the script.

Fargo was amply rewarded with seven Academy Award nominations, with Oscars for Frances McDormand for Best Actress and Best Original Screenplay for the Coen brothers. It was also up for Best Picture (Ethan Coen), Director (Joel Coen), Best Supporting Actor (William H. Macy), Best Cinematography (Roger Deakins), and Best Editing (Roderick Jaynes).

It remains the best of a deep and impressive body of work by the Coen brothers. In spite of the violence, it is a film that can be enjoyed over and over. It is a classic of American cinema that should have a place in every serious film buff’s collection. The DVD special edition contains a “making of” featurette, as well as a Charlie Rose interview with the Coens and Frances McDormand.

Marnie is undoubtedly Alfred Hitchcock’s most unusual film. There’s no murder, no spies, no sabotage, and practically no suspense. It is a straight up psychological drama.

The movie begins with a theft. A young woman, Marnie (Tippi Hedren) goes under various aliases as she moves from one company to another gaining trust and then stealing money from their safe before disappearing into a new identity. She has just robbed an accounting firm that represents Rutland and Co., owned by Mark Rutland (Sean Connery), who remembers seeing the girl on a visit. Following her robbery, Marnie washes the black dye from her hair to reveal her own stunning natural blonde. She makes her way into the country where she has a standing relationship with a stable and a horse all ready for her to ride. She also visits her mother (Louise Latham) in Baltimore, where we see her acute jealousy for a little girl that her mother looks after. She wonders why her own mother hates her so much.

Throughout the early set-up of the film, we are shown glimpses of Marnie’s fears and phobias. The color of bright red, for example, puts her into a blind, mindless panic. Her mother urges her to stay away from men, because they will only hurt her and Marnie acknowledges that she’s never had a relationship with a man and never will.

In Philadelphia, she begins her life as a thief yet again, this time taking a job at the Rutland Company, not realizing Rutland’s relationship with the accounting firm she’s recently robbed. Mark decides to hire her over the objections of his manager. A woman named Susan (Mariette Hartley) is secretary to the manager, who keeps the combination to the safe in her locked desk. On her first day in the office, she meets Mark’s former sister-in-law Lil (Diane Baker) who obviously has designs on Mark. He asks Marnie to come into his office on a Saturday to work, but they are disturbed by a thunderstorm. The lightning terrifies Marnie and sends into another blind panic. Mark comforts her and drives her home. Discovering her love of horses, he arranges a date with her at the horse races in Atlantic City. Afterwards, he drives her home to meet his family.

Finally seeing her opportunity, she steals the key to Susan’s desk, stays late in the office, and steals a substantial amount of money from the safe. Realizing the situation, Mark replaces the money and tracks her down at the stable where she rides her horse. He blackmails her into marrying him and takes her away for a honeymoon cruise, where he rapes her. Lil becomes suspicious of Marnie. Snooping around while Mark and Marnie are away, she discovers that Mark has paid off the accounting firm where Marnie previously stole money. Upon their return, she invites the manager of that firm to a party at the Rutlands. When Marnie sees her former boss, she freaks out and tries to leave.

Ultimately, Mark must force her to re-live her past and come to terms with the reason for all of her fears.

This is a very uneven film, even though Marnie’s character offers the kind of drama that might have intrigued Tennessee Williams. The first problem is the length of the movie. At two hours and 11 minutes, it is simply too long for the subject matter and it becomes deeply bogged down and very difficult to watch. It seems to me that as Hitchcock became more and more popular as a director, he allowed himself to include many things in his movies that were not essential to the film. Not only does Marnie suffer from this, but so does North by Northwest, The Man Who Knew Too Much, and others. These films all required a firm hand in the cutting room, but Hitchcock was a demanding director and editor George Tomasini, who worked with him a large number of his American films, was quite obliging.

There are other technical issues as well. Hitchcock’s reliance on rear projection and matte painting fails him quite dramatically here, especially in the scenes where Marnie is riding a horse, coming off as very unrealistic.

Although he was dedicated to the elevation of model Tippi Hedren to stardom, her fine performance in The Birds does not carry over well into this psychological drama. At times she seems rather wooden and signals her emotions, rather than using nuance to fill in the blanks. Sean Connery, a very accomplished actor, does okay in the movie, but one is always aware that he is Sean Connery. I don’t think there was a single spot in the movie where I actually thought he was Mark Rutland. In addition, I don’t sense any kind of chemistry between the two stars in this movie and I didn’t really care what happened to them. Without any real suspense to drive the movie–and with constantly looking at my watch and wondering when it would be over–it really felt forced.

There are two really good performances in the film. Louise Latham is simply outstanding as Marnie’s mother, bringing the kind of nuance that makes for a starkly realistic character. And Diane Baker is excellent as Lil, the jilted sister-in-law.

This might have been a great film, with sufficient editing, perhaps with a different leading actress as Marnie and maybe an American actor as Mark, with some of the action sequences done more realistically. As it is, the movie looks like an overblown Hollywood version of what should be a compelling drama.

I have to rank this near the bottom of Hitchcock’s American films and I find it hard to recommend it to anyone but die-hard Hitchcock fans.